Abstract

Summary Fabricius ab Aquapendente commissioned coloured paintings of the reproductive parts and foetuses of a vast spectrum of animals. His published works on generation feature corresponding engravings. In contrast, his student William Harvey questioned the accuracy and usefulness of anatomical illustrations and used alternative approaches to represent his observations. I discuss these anatomists' criteria for selecting specimens, their techniques of investigation, and how these decisions affected their observations and representations of animal generation. I consider what each medium—paintings, intaglios, written accounts—discloses or highlights and also their respective limitations. My study of Fabricius's colour plates also reveals the possibility that they served as inspiration for the first colour anatomical prints: a copy of the illustrations of foetuses is bound with drafts of Aselli's plates, and I suggest a possible link between the colour images.